|Machine translation like or is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia||The Devil's Era, 1938 Philosophical Stories• The Dancer of the Temple, 1939 Short Stories• Al-Hakim was able to understand nature and depict it in a style which combines symbolism, reality and imagination|
|In such a historical context, al-Hakim's play can be seen as a somewhat courageous statement of the need for even the mightiest to adhere to the laws of the land and specifically a plea to the ruling to eschew the use of violence and instead seek legitimacy through application of the law||Within a year, al-Hakim produced another major and highly revered work, Shahrazad Scheherazade, 1934|
|When the National Theatre Troupe was formed in Egypt in 1935, the first production that it mounted was The People of the Cave||The 'soft hands' of the title refer to those of a prince of the former royal family who finds himself without a meaningful role in the new society, a position in which he is joined by a young academic who has just finished writing a doctoral thesis on the uses of the Arabic preposition hatta|
|The People of the Cave, 1933 Play• Rase, Sherri April 8, 2011 , 2012-03-22 at the , [Q]onStage, retrieved 2011-04-19• He mastered narration, dialogue and selecting settings||Muhammad the Prophet, 1936 Biography• In its use of overarching themes - rebirth into a new world and a predilection for returning to the past - al-Hakim's play obviously touches upon some of the broad cultural topics that were of major concern to intellectuals at the time, and, because of the play's obvious seriousness of purpose, most critics have chosen to emphasise such features|
Nazism, the Holocaust and the Middle East.4
|Now cured of his vicious anger against the female sex by the story-telling virtuosity of the woman who is now his wife, King Shahriyar abandons his previous ways and embarks on a journey in quest of knowledge, only to discover himself caught in a dilemma whose focus is Shahrazad herself; through a linkage to the ancient goddess, , Shahrazad emerges as the ultimate mystery, the source of life and knowledge||There is perhaps an irony in the fact that another of al-Hakim's plays of the 1960s, Ya tali al-Shajarah 1962; The Tree Climber, 1966 , was one of his most successful works from this point of view, precisely because its use of the literary language in the dialogue was a major contributor to the non-reality of the atmosphere in this style involving extensive passages of non-communication between husband and wife|
|Al-Hakim's response to the social transformations brought about by the , which he later criticized, was the play, Al Aydi Al Na'imah Soft Hands, 1954||Thus, he refused to call them plays and published them in separate books|
The triumphs and failures that are represented by the reception of his enormous output of plays are emblematic of the issues that have confronted the Egyptian drama genre as it has endeavored to adapt its complex modes of communication to Egyptian society.